Page 120 - Nov. 27 2019 Christie's Hong Kong Desk Objects

fig. 1 Collection of the National Palace Museum, Taipei
எӬ இ⛁ᘢ༈ࢷ⁒㩴⻦৅

2854 Continued

According to the Qing Gaozong Yuzhi Shiwen Quan Ji 'Anthology of ེ᫉⎏㫌ߴ㰍ᡟক㐏㞔⯝झ࢈ᘢ༈ࢷ⁒㩴ᘘ⻦⎏Ӭზℱེ⏟⋁卿㇦Ƕ༈
Imperial Qianlong Poems', the imperial poem was conceived together ᅡԠ㪿厍᳖ջ֎ऒࣿ⊺ዪℱ଍⁞ཿஎ㢙Ƿ卿झ࢈卿 ჺ卿㮰 卿எ
with another seven, which were originally composed based on a set ‸ ⽚卻ॲː卼ǯݦ։ឬᙠ⎐ἃӳ✙⎏ক㨯⎊ℱ卿㫌ߴ⎐ἃԳ㪏ݱ௛
of eight paintings, dated to 1740, the fourth year of the Qianlong reign
(1740). 㰍ᡟ卿սഅྉ᱙㫌ᙻՀ⣠⚁㧿ӳヿ→ྒྷ᭢՞⁒⚁㬦㬱㙐Ԡዷ卿Ԇ㖓սԳ
㪏⎑Ⴝ㯪༵⎏ᇙㅳ㉼卿ἃԳ㪏ᛞឆℱה⠢৅ǯ
During the Qianlong period, the emperor was extremely fond of jade
carved in pictorial style, using the visual effect and style of imperial
court paintings. Thus, many jade table screens or brush pots took
their influences from these painting that depicts lives of extraordinary
scholars or famous scenery.
The intricate style and quality of the carving of the current screen
is comparable to that on another jade screen from the collection of
the National Palace Museum, Taipei, and illustrated in The Refined
Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades
of the Ch’ing Court, Taipei, 1997, no. 67, p. 196. (fig. 1) Both screens
are carved with similar compositions, depicting scholars within a
tranquil landscape scene supplemented by an inscribed imperial
poem composed by the Qianlong Emperor. According to the Qing
Gaozong Yuzhi Shiwen Quan Ji 'Anthology of Imperial Qianlong
Poems', the imperial poem together with another seven, were intended
to complement a set of eight paintings, dated to 1740, the fourth
year of the Qianlong reign. Therefore, the current screen is possibly
carved according to the paintings in the imperial court collection and
accompanied by the same poem.

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